Saariaho’s compositions during the 1980’s were characterised
by her sensual, descriptive and lyrical writing with subtly unfolding
transformations. Her search for new timbres led her to study new techniques in instrumental
as well as the computer realm. For this purpose she spent some time at Ircamwww.ircam.frand it is these studies that have constituted
an important element of her compositions.

Her international notoriety was confirmed with works such as
Verblendungen for orchestra and tape (1982-84),
Lichtbogen for chamber ensemble and
live-electronics (1985-86), and Nymphéa
(1987) a commission from the Lincoln Centre for the Kronos Quartet. Since the1990s,
her music has become more expressive, often faster in its melodic fluctuations
with stronger rhythmical elements. What has remained central to her
compositional style are timbre and colours.

Saariaho’s principle works include a violin concerto, Graal théâtre, written for Gidon Kremer
in 1995; two works dedicated to Dawn Upshaw, Château
de l’âme premiered at the Salzbourg Festival in 1996; Lonh, a cycle of melodies for soprano and electronics premiered at
the Wien Modern Festival in 1996; Oltra
mar for orchestra and mixed choir, premiered in 1999 by the New York
Philharmonic Orchestra; a flute concerto, Aile
du songe,composed for Camilla
Hoitenga (2001); Nymphea Reflexion
for string orchestra, dedicated to Christoph Eschenbach (2001); Orion for the Cleveland Orchestra
(2002); and Quatre Instants, for soprano,
piano/orchestra, for Karita Mattila, premiered in April 2003.

Her first opera, L’Amour
de loin, with a libretto by Amin Maalouf and staging by Peter Sellars, was
a great success at its premiere at the Salzbourg Festival in 2000, and won the
Grawemeyer Composition Award in 2003. Her second opera, Adriana Mater, on an original libretto by Amin Maalouf, was also
staged by Peter Sellars, at Opéra Bastille in March 2006.

La Passion de
Simone-Chemin musical en quinze stations (Musical path in fifteen stations)
echoes the Stations of the Cross marking Jesus’ progress to Calvary. The events
in Simone Weil’s life are viewed through the eyes of an imaginary sister and
throughout the orchestra combines with electronic sounds whilst also having an
important part for spoken voice or ‘reader’.

The oratorio opens with a gloriously atmospheric Premiere Station with a lovely
orchestration combined with electronic sounds perfectly blended. Soprano Dawn
Upshaw enters on the words ‘Simone, grande soeur’ (Simone, my elder sister)
with the constantly shifting orchestral part providing a wonderful support. Dawn Upshaw is, as usual, terrific. This
station ends with words quietly spoken by Dominique Blanc making an effective
conclusion.

Chorus and orchestra open Deuxième Station before the soprano enters in this faster section, still
full of sensuous orchestral writing. The drama is very well maintained with
never a bland moment. Troisième Station
has a quiet opening before a sudden outburst from the orchestra. The soprano
enters but orchestral outbursts still occur. The reader appears with the short
phrase ‘To hold one’s attention towards…’ Drooping sounds in the orchestra lead
to a section for soprano before an orchestral outburst. The orchestra quietens
before the reader re-enters in a magical moment speaking the words ‘To know how
to listen to silence.’

The Quatrième Station
has a short orchestral opening before the soprano enters, still with some
magical orchestral sounds. Dawn Upshaw is outstanding, so effortlessly
conveying the feeling of the text. She is always musical, even when giving so
much emotion to the text. There is a further orchestral section towards the
end, full of anguished outbursts. Cinquième
Station lightens the atmosphere somewhat with a bright unaccompanied chorus
before the soprano and percussion enter in this movement that evokes mechanical
and industrial sounds linked to Simone Weil’s time whilst experiencing work in
a factory.

Powerful industrial sounds from the orchestra continue in
the Sixième Station with the chorus
soon joining. When the reader enters it is against a hovering static orchestra.
Again the orchestra bursts out, joined by the chorus, before the reader returns
with the static, atmospheric orchestral and electronic sounds. There is an
underlying, colossal, orchestral menace.

Septième Station opens
with a cor anglais against a quiet orchestra before the soprano enters
accompanied by the cor anglais in this strikingly stark section, relieved only
by occasional orchestral contributions along with the chorus. Dawn Upshaw again
shows how terrific she is in this taxing music. There is a gentle opening to Huitième Station with lovely orchestral
sounds before the soprano sings alone above the reader’s voice leading to an
extended orchestral section flowing along in a gorgeously atmospheric melody,
so skilfully written.

Neuvième Station has
a brighter orchestral opening before the soprano enters with the words ‘One
should know how to love God for Himself.’ The chorus interjects with the same
words before the soprano continues as the music becomes more animated. It calms
when chorus re-enters but, when she returns, the soprano becomes more
passionate. There is a section for chorus and orchestra before the soprano re-enters
over the choir in a sumptuous section, full of passion. The orchestra rises,
with dominant brass, before the music drops as it moves into the Dixième Station with gentle tambourine sounds
against the orchestra. The chorus and reader quietly intone before the soprano
joins the orchestra in this luscious music full of hazy sounds. There is
another section for orchestra, chorus and reader in a hushed moment after which
the soprano returns starkly against the orchestra with forbidding sounds as she
sings ‘Alone standing in the middle of darkness’ The reader quietly ends this
station as the orchestra fades in this very effective moment.

The soprano and a solo flute open the OnzièmeStation before
the whole orchestra joins. Again there are parts for soprano and reader in this
dramatic piece. There is a strident outburst with percussion when the soprano re-joins.
Eventually the reader re-enters in a haunting section with the words ‘Fear of
Death. The foundation of slavery.’There
are orchestral outbursts and an increasingly dramatic soprano part, wonderfully
sung and full of passion before the orchestra leads to the Douzième Station where the fine Tapiola Chamber Choir have a more
dominant role. The reader again speaks with static orchestral sounds before a plaintive
orchestral section leads to a minor outburst, with brass, before being joined
by the chorus over a less strident, often sumptuous, orchestra.

The Treizième Station
opens with delicate orchestral sounds with bells before the soprano sings ‘Slowly,
you gave up the ghost, my little sister Simone’ The chorus intersperses with
the repeated words ‘At the age of thirty four in a hospital in England.’The orchestra remains pensive, with shifting
harmonies. The reader returns at the end with a haunting theme from the
orchestra.

There is an orchestral openingto the Quatorzième Station before
the soprano enters against atmospheric orchestra sounds, with percussion, as
the music slowly moves along. The reader becomes increasingly emotional when
she speaks of ‘Every evil aroused in the world.’ There are strange darting
sounds from the strings before the soprano and orchestra slowly lead us on in
this funereal station.

The Ultime Station opens
with an orchestral outburst full of nervous energy before first the soprano,
then chorus, then speaker take their parts in hauntingly unsettling music. The
soprano becomes more agitated. There are haunting orchestral sounds before the
soprano again returns, and the orchestra heaves its way forward. The soprano sings
‘Your grace was liberated from the gravity of the world…’ as the orchestra leads
to a hushed coda.

This is a glorious work, full of passion, beauty and
evocative orchestral and electronic sounds. It is in no way derivative. It is
notable that I did not think of any other composer when listening to it. Esa-Pekka
Salonen with the Finnish Radio Symphony Orchestra and Tapiola Chamber Choir could
not be better. Dawn Upshaw gives a terrific performance. A special mention
should be given to the ‘reader’, Dominique Blanc, whose performance adds so
much to this recording.

The recording, made after a live concert performance, is
really excellent. The booklet has excellent notes together with texts and
translations. I shall be seeking out more music from this inspired composer.

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About The Classical Reviewer

The Classical Reviewer has been involved in music for many years, as a classical record distributor, as a newspaper concert reviewer and writer of articles relating to music as well as reviewing for Harpsichord and Fortepiano magazine.

He assisted in the cataloguing of the scores of the late British composer George Lloyd and has co-authored a memoir of his friendship with the composer.

Having a particular interest in British music, he regularly undertakes talks on Elgar.

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